Sound Man: A Life Recording Hits with The Rolling Stones, The Who, Led Zeppelin, the Eagles , Eric Clapton, the Faces . . .

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The group came to England to record their debut album, Children of the Future, at Olympic with Johns as engineer. Johns recounts that his first session as chief engineer was for a recording by Joe Brown, which was produced by Tony Hatch. According to Johns, he suggested that band play a concert on the rooftop of their Apple Studio facility, where much of the sessions were being recorded and filmed, [95] and rigged the recording wires onto the rooftop connected to control room for the performance.

He knew the Stones because he was really good friends with Ian Stewart and even shared a flat with him. Just take the next 24 hours, and check out a fraction of songs he worked on as producer, engineer and/or was tasked with mixing on this playlist I put together. Browne, David; Fricke, David; Dolan, Jon; Grow, Kory; Gehr, Richard; Greene, Andy; Hermes, Will; Martoccio, Angie (5 July 2022). Glyn Johns is the older brother of the producer and engineer Andy Johns (1950–2013), [151] who began as an engineer with Jimi Hendrix under the tutelage of Eddie Kramer, [152] and like Glyn Johns, worked with the Rolling Stones and Led Zeppelin.Olympic Studios became Johns's preferred studio for many years, [57] [e] and it became one of the most in-demand recording facilities in England. There is no way I could haves stayed involved with what followed: fairly heavy substance abuse with hundreds of hours in the studio with the band being at each other’s throats, disappearing up their own arses. He had arranged for the gear to be loaned for the recording at Savile Row and turned up on the day we did the filming on the roof, but had nothing to do with the production of the music. Helping musicians and industry pals find work or just something to do helped Johns win and keep a lot of friends in the business. completed episodes 3 and 4 of Life On Mars- season 2– funny when he introduced himself as Tony Blair.

I spent 50 years ignoring the press completely, just purely and simply based on the fact that I figured my career would last longer if I did. Another story has Johns in Los Angeles attending a party at Roman Polanski’s house and meeting his pregnant wife Sharon Tate. Johns began to keep company with a group of friends interested in music, whose ranks included Ian Stewart (later in the Rolling Stones). In 1965 Johns became one of the first independent British recording engineers to operate freelance rather than under the hire of a particular record label or studio. Having delivered the mixed master of my version of Let It Be, I approached each member of the band separately, asking if I could have a production credit on the album when it was released.But back to the book (the interview will be published (as audio) when the new Clapton album he produced and engineered is released on double 45rpm AAA vinyl (soon). television programme, which featured leading British rock and roll performers of the day, such as Joe Brown, Marty Wilde, Billy Fury, Wee Willie Harris, and others. All told, Glyn — who wrote that “I felt like I’d won the lottery” when he got the job to work the Get Back sessions — spent about 25 pages of his book’s 286 pages on working with The Beatles (including a couple on his first experience working with the group, as second engineer on the 1964 TV special “Around the Beatles”).

The project resulted the Let It Be album [89] and Let it Be (1970) [90] and The Beatles: Get Back (2021) [91] documentary films. This love and respect for the artists he worked with may be what keeps him from unveiling too many stories about what went on in the studio between takes.

The album began as a soundtrack for the multimedia project, Lifehouse, which though abandoned, ended up forming the basis of Who's Next. Johns did his first work with an American act in 1968 with the Steve Miller Band, whom he had seen perform live at the Fillmore in San Francisco. How do things look to you these days, with the music industry and recording — especially our end of it? My answer was: “You just have to have an opinion and the ego to express it more convincingly than anyone else. He produced and engineered The Who by Numbers [41] (1975) and produced early sessions for Who Are You (1978) with engineer John Astley, who later took over as producer.